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Video introducción de arqueología subacuática en tiempos del COVID-19

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Video introducción de arqueología subacuática en tiempos del COVID-19

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Estudiantes arqueologia subacuática y marítima

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Estudiantes arqueologia subacuática y marítima

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Página realizada por estudiantes de comunicación social de la Universidad Externado de Colombia

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Lo que el mar oculta

Lecciones de un arqueólogo marítimo

Ya no atrapo monedas con la boca

Eran principios de 1741 cuando Blaz de Lezo, el estratega militar español que dirigía la defensa de Cartagena de Indias de la invasión británica, en medio de la batalla, perdió uno de los seis barcos dispuestos para atacar a los británicos: el barco San Felipe. En aquella época, el hundimiento del barco debió significar frentes desprotegidos y muertes de soldados españoles e indígenas, es decir, una pérdida para la comunidad. Sin embargo, España triunfó y tres siglos después la pérdida se transformaría en ganancia.

​

En julio de 2014, por iniciativa del gobierno colombiano se inicia un proceso de dragado del puerto de Bocachica para permitir la entrada de barcos más grandes y así mejorar la situación económica. En la extracción del sedimento para el procedimiento, la draga choca con lo que parecía ser una estructura de madera. En ese momento se notifica a arqueólogos para que realicen la observación pertinente y así estar seguros de que no se estaba arruinando algún rastro del pasado, o, en otras palabras, del patrimonio cultural.

​

Así es como, Carlos de Cairo, arqueólogo, se acerca al sitio apoyado de colegas y confirman que efectivamente se ha descubierto un naufragio. Carlos, al hacer parte de la Universidad Externado de Colombia, vincula la investigación del naufragio con la Facultad de Estudios del Patrimonio Cultural y así es como inicia un proceso de investigación que, al día, sigue vigente. A partir de ella es que este grupo de arqueólogos ha recolectado información que permite determinar que el naufragio en cuestión es el barco San Felipe: el mismo de la historia de Blaz de Lezo.

​

Bocachica es una provincia a 45 minutos de Cartagena que está ubicada en la Isla de Tierra Bomba. Es atractiva turística e históricamente por albergar el Fuerte de San Fernando de Bocachica, que se encuentra bastante cerca al sitio en donde se descubrió el naufragio y que se relaciona directamente con la batalla de 1741, pues es donde se organizaban las tropas españolas. Aún con su atractivo, la comunidad de Bocachica, vive en la pobreza al punto de la mendicidad. El periódico El Universal cuenta que los turistas llegan en lanchas al lugar, los niños se sacuden en el agua para llamar la atención, chocan sus manos con el agua para que tiren monedas, caen, se sumergen y las sacan con la boca. Así viven.

​

Carla Riera, restauradora y conservadora, miembro de la investigación también, manifiesta que el naufragio es patrimonio cultural puesto que este significa ''herencia cultural que nos precede e identifica como pueblo y que nos brinda herramientas para entender lo que sucede en nuestra realidad actual''. Así, el naufragio hace parte del patrimonio cultural de Bocachica -y en general del país- y su descubrimiento llegó para brindarle identidad a su comunidad.

​

Lo que en algún momento representó una pérdida para la comunidad española que se defendía de la invasión británica, 279 años después se convirtió en horizonte y esperanza para una comunidad que sufre la desigualdad esperada de un país sin identidad.

​

Los investigadores, Carla, Carlos, estudiantes, y demás, al encontrarse con tal panorama, entienden y reconocen la importancia de incluir a la comunidad en la investigación y así, les delegan labores como preparación de equipos de sumersión, apoyo desde la superficie, desplazamientos, entre otras cosas. Es así como el gran cambio para Bocachica se hace real. Hoy, algunos de los papás de esos niños que atrapaban monedas en el agua con la boca, están certificados por la Facultad de Estudios del Patrimonio Cultural de la Universidad Externado de Colombia como Asistentes de Investigación Arqueológica Sumergida y a partir de su aprendizaje, crearon tours arqueológicos que les permiten superar y luchar contra el entorno desigual que les condicionó.

Sumergidos en el Caribe

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Lo que el mar oculta Lecciones de un arqueólogo marítimo Ya no atrapo monedas con la boca Eran principios de 1741 cuando Blaz de Lezo, el estratega militar español que dirigía la defensa de Cartagena de Indias de la invasión británica, en medio de la batalla, perdió uno de los seis barcos dispuestos para atacar a los británicos: el barco San Felipe.

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Entrevistas y podcasts hecho por el docente y estudiantes así como invitados expertos en arqueología marítima y subacuática

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Mars project

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Cursed Shipwreck Yields Treasure and Human Remains | National Geographic

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Documento de apoyo para desarrollo de taller contrucción y registro de naufragios

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Documento de apoyo para desarrollo de taller contrucción y registro de naufragios

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Perfil Academia
https://tamu.academia.edu/FilipeCastro

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PODCAST 5 minutos de arqueología y la importancia de la conservación y la restauración con Carla Riera

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PODCAST 5 minutos de arqueología y la importancia de la conservación y la restauración con Carla Riera

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Carla Riera Andreu es Conservadora - Restauradora de Patrimonio Cultural, Licenciada en Bellas Artes con itinerario en Conservación y Restauración de Bienes Muebles en la Universidad de Barcelona, y Maestría en Conservación y Restauración de Bienes Culturales en la Universidad Politécnica de Valencia del a cual se graduó con la tesis titulada "Investigación de las actuales tendencias de conservación in situ en arqueología subacuática; estudio y análisis sobre la protección física de los artefactos de hierro conservados en ambiente submarino". Paralelamente se ha formado en conservación y restauración de material arqueológico subacuático: impregnación de materiales orgánicos con polisiloxanos en el Centro de Arqueología Subacuática - Instituto Andaluz del Patrimonio Histórico (CAS-IAPH) en Cádiz, España; en conservación y restauración de restos metálicos de procedencia subacuática en el International Centre for Undewater Archaeology (ICUA), Croacia, y ha cursado diferentes niveles de Formación NAS (Nautical Archaeology Society) con la Société d'Etudes en Archéologie Subaquatique (SEAS), Francia. Actualmente trabaja como docente e investigadora en la Facultad de Estudios del Patrimonio Cultural de la Universidad Externado de Colombia desarrollando proyectos en el Grupo de Estudio Territorios Líquidos, dictando asignaturas en los pregrados de Arqueología y de Conservación y Restauración de Patrimonio Cultural Mueble, y coordinando cursos de educación continuada sobre Patrimonio Cultural Sumergido. Colaboradora en la Fundación Terra Firme con la que ha participado en los proyectos de intervención del naufragio ubicado en el Canal de Bocachica, Cartagena de Indias. Ha participado en eventos académicos y científicos en Suiza (PARIS 5), Portugal (JIA 2015), Bolivia y Colombia.

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5 minutos de arqueología y la importancia de la conservación y la restauración con Carla Riera by Arqueología en minutos

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5 minutos de arqueología y la importancia de la conservación y la restauración con Carla Riera by Arqueología en minutos

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Carla Riera Andreu es Conservadora - Restauradora de Patrimonio Cultural, Licenciada en Bellas Artes con itinerario en Conservación y Restauración de Bienes Muebles en la Universidad de Barcelona, y Maestría en Conservación y Restauración de Bienes Culturales en la Universidad Politécnica de Valencia del a cual se graduó con la tesis titulada "Investigación de las actuales tendencias de conservación in situ en arqueología subacuática; estudio y análisis sobre la protección física de los artefactos de hierro conservados en ambiente submarino".

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Presentación de reportes de análisis fotogrametría 

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Presentación de reportes de análisis fotogrametría 

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Experiencia Arqueología subacuática en Colombia PMA en Manzanillo 2015

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Experiencia Arqueología subacuática en Colombia PMA en Manzanillo 2015

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Subir en pdf los planos creados por los estudiantes previo a la construcción del barco

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Video oficial Arqueología del naufragio de Bocachica

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Video oficial Arqueología del naufragio de Bocachica

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Actividades en el Naufragio de Bocachica

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PODCAST 5 minutos de arqueología subacuática con Amaru Argueso - Argentina

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PODCAST 5 minutos de arqueología subacuática con Amaru Argueso - Argentina

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La arqueología subacuática y una corta visión desde América Latina. Amaru Argueso es licenciado en Ciencias Antropológicas con orientación arqueológica de la Universidad de Buenos Aires. Especializado en arqueología subacuática desde 1997; a lo largo de 20 años ha trabajado en el diseño en implementación de métodos y técnicas de excavación y de prospección mediante técnicas geofísicas, participando en temporadas de campo de arqueología subacuática en Argentina, México, Chile, Uruguay, Portugal, Francia y Colombia; a lo largo de 12 años realizó 20 campañas de excavación en el pecio H.M.S Swift como parte del equipo del Programa de Arqueología Subacuática (PROAS) del Instituto Nacional de Antropología y Pensamiento Latinoamericano (INAPL). Actualmente trabaja en la codirección del Área de Estudios en Arqueología Subacuática (AEAS) del Programa de Arqueología Histórica y Estudios Pluridisciplinarios (ProArHEP) de la Universidad Nacional de Luján, y como arqueólogo responsable de trabajos de arqueología preventiva en Argentina, Chile y Colombia. Ha trabajado como consultor Ambiental, Cultural y Arqueológico independiente durante 10 años. Su trabajo se recoge en numerosos artículos, actas de eventos científicos y académicos a nivel internacional. Instructor de la Nautical Archaeology Society desde 2003. Buzo profesional científico de la PNA, Instructor de Buceo CMAS y Buzo Técnico (cuevas, profundidad y procedimientos de descompresión).

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5 minutos de arqueología subacuática con Amaru Argueso - Argentina  by Arqueología en minutos

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5 minutos de arqueología subacuática con Amaru Argueso - Argentina by Arqueología en minutos

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La arqueología subacuática y una corta visión desde América Latina. Amaru Argueso es licenciado en Ciencias Antropológicas con orientación arqueológica de la Universidad de Buenos Aires.

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para bajar el articulo
https://www.tandfonline.com/doi/full/10.1080/00253359.2019.1589114

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#CovEDTalks No.2 with the NAS - WW1 U-Boat Archaeology - 7th April 2020

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Materiales y equipos a tener en cuenta para el registro y medición de sitios sumergidos 

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Materiales y equipos a tener en cuenta para el registro y medición de sitios sumergidos 

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Version date: 16 October 2016

Search Tools

The tools and equipment below are useful when undertaking search operations underwater:

Shot Line

A shot line is dropped from a boat and used to mark the centre of the search area for a circular search.

The shot has a 15-20kg weight tied to 10-12mm rope which is then attached to a large buoy or fender that acts as a float. The rope has to be longer than the depth of water it is deployed in.

A small, deflated lifting bag can be attached to the shot weight, then once the shot needs to be recovered it can be inflated to help raise it to the surface.

Distance line and reel

The distance line is attached to the shot line and is used to control the radius of a circular search.

Larger reels are easier to use for this task than small ones, a McMahon Large Dive Reel is ideal. The line should be marked out in 5m increments so you can see how much line has been run out from the reel. The line can be marked using a permanent marker pen; one thick band for each 10m increment plus a thin band at 5m intervals is easy to understand.

For accurate work a builder's fibreglass tape measure can be used instead of a reel and line.

Delayed Surface Marker Buoy (DSMB)

A delayed surface marker buoy or DSMB is used to mark the position of an object on the seabed found during a search.

Open ended buoys are recommended. With this type, once a position fix has been recorded the buoy can be quickly deflated and rolled up by the boat crew, the diver can then wind in the reel allowing the buoy to be deployed again on the same dive.

We use a Lumb CongeReel and a Bowstone marker buoy (code 7430). Two holes are drilled in the handle of the reel and shock cord is looped through and knotted together. The loop of cord is then used to attach the rolled up marker buoy to the reel so that can be carried easily then released for deployment when needed.

Diver's compass

The diver's magnetic compass is used to position objects found during the search.

The Suunto SK7 is ideal for this task.

Flagging tape

Flagging tape is used to mark objects found during the search so they can be found more easily later on.

Yellow tape is the most easily seen underwater

Flagging tape can be ordered from survey supply stores such as York Survey

Hand held GPS

A GPS receiver reports its position on the Earth as a latitude and longitude so can be used to position the shot line for the search and to position any objects that are found and marked with a DSMB.

A Garmin GPSMap 76CSx works well and under static tests has provided positions to better than 2m using WAAS corrections.
More about positioning using GPS...
Underwater metal detector [Advanced]

An underwater metal detector is used to detect metal objects on or just under the seabed.

The unit shown here is an AquaScan AQ1B underwater metal detector. This unit has been modified so it stows away neatly when not in use leaving the diver's hands free. The main unit can be clipped under a diver's arm and the search coil clipped to the front of the diver's BC. A guard has also been placed around the connectors and control knobs.
More about metal detectors...
Survey Tools

The tools below are used for underwater survey tasks:

Tape measure

Tape measures are used to make distance measurements underwater

Standard builder's fibreglass tape measures can be used, less than 30m long in metric units.

Choose tape measures with an open frame design (shown right) so they can be washed after use

Yellow coloured tapes are more easily read than white when working underwater.

The zero end of a tape measure can be temporarily attached to a control point using a releasable cable tie.

Drawing slate

The drawing slate can be used for making notes or making sketches underwater.

The slate should be A4 for normal use or A5 to fit in a pocket, made from 5mm thick PVC

The slate should be heavy enough to sink in water so it does not float away and should include a P clip to attach it to your BC

if you round off the sharp corners of the slate you are less likely to stab a hole in your drysuit.

Good quality slates can be obtained from the Nautical Archaeology Society

Pencil

Pencils are used for writing on the drawing slate

Papermate Non-Stop Disposable Mechanical Pencils work very well even after repeated dunking in sea water.

These pencils do float so should be firmly attached to your drawing slate.

Waterproof paper and electrical tape

Waterproof paper is needed to write and make sketches underwater.

We recommend A4 pre-cut 75 micron Permatrace available from ArchTools for general work.

We use F100TDL Non Adhesive Hydrocopy Film For Laser (100 microns) for pre-printed forms made using a laser printer.

The waterproof paper is attached to the slate using PVC electrical tape, duct tape can be used but it sometimes leaves a sticky residue when removed.

Folding rule

Folding rules can be used to take detailed measurements underwater.

Unfortunately many folding rules contain metal parts so corrode and fall apart after use underwater.

We use ones that you can buy from the Nautical Archaeology Society as they survive repeated immersion in seawater.

Survey Control Point (CP) pins

Control points are installed around the site and are used to attach tape measures for survey work.

The best points have been found to be 500mm lengths of 10mm threaded stainless steel rod, these can be hammered into the seabed.

More about Control Points...

Tags and cable ties

Each survey point and most large objects should be marked with a tag or label so they can be easily identified.

Yellow Disk-mark tags are available from York Survey.

You can write on the disks with a black permanent marker pen (Sharpie) or engrave the letters more permanently with a hot soldering iron.

The tags can be attached using nylon cable ties, 450mm x 8.0mm

Digital dive computer

A digital dive computer can be used to measure depth underwater.

Where possible the same dive computer should be used for all depth measurements on site.

The instrument needs to be able to report depth to a resolution of 0.1m or better.

Do not use the Uwatec dive timer for this as it does not always report depth in metres correctly

PC and Site Recorder software

Site Recorder software is used to process tape and depth measurements made during underwater surveys.
More about Site Recorder...
Planning or Drawing frame

Planning or drawing frames are used for making detailed drawings of the seabed or wreck structure.

We use 1m x 1m and 2m x 1m sections of 200mm steel reinforcing mesh, painted yellow. These are rugged planning frames and can be left on site between use. We also had some custom made from stainless steel.

Alternatively, you can make a planning frame from 20mm square section plastic tubing and right angle connectors available at some hardware stores. The strings are thin elastic fed through holes drilled in the tubing. You will need to add weight to this kind of frame as otherwise it will float.
More about planning frames...
Crayon

Yellow road crayon can be used to mark detail points on concreted iron objects.

Road crayon is available from hardware stores and builders merchants.

A bubble level can be used for high precision depth measurements. The bubble level is usually thought of as ancient technology; it uses a bubble of air to accurately transfer a known level from one point on the wreck site to other points on the site. Height measurements to points on ships structure can then be made from a common level.
More about the bubble level ...
Other tools

Wire brush and scraper can be used for cleaning weed from concreted iron guns and anchors before recording.

Probes can be used to locate objects buried just beneath the surface of the seabed, we use stainless steel welding rods for this job.

Recording Tools

The tools below are used for recording tasks:

Vernier callipers

Vernier callipers are used to accurately measure the thickness of flat, round or bar shaped objects.

Plastic callipers can be used for initial finds recording when the finds are dirty or wet.

Digital callipers can be used on dry finds. The digital readout makes reading the measurement very quick.

Outside callipers

Outside callipers can be used to measure the thickness of curved objects such as pottery. The outside curves can be fitted round the curves on the object being recorded. Digital outside callipers are particularly good for this as they report the thickness of the material while clamped together, the manual version have to be removed and measured against a rule.

Large Callipers

Large callipers can be used to measure the diameter of cannons and large pottery or for measuring the thickness of ship structure.

Large callipers for use underwater should be made of stainless steel or plastic

Profile gauge

A profile gauge is used to record the shape of an object so the shape can be copied on to paper. Profile gauges are often used for recording the mouldings on cannons or for recording intricate shapes on pottery.

Plastic profile gauges can be used underwater and on wet or dirty objects but often have coarse sized teeth

Metal gauges can have finer teeth for recording more detail but may corrode in damp conditions

Photography Tools

The tools below are used for photography tasks:

Underwater photo scale

Photographic scales are used to provide a known distance reference when taking photographs above or under water.

We use scales that are 1m and 500mm long, marked at 100mm intervals with one section marked at 20mm intervals.

We use 10mm square section aluminium tubing available from hardware stores which is then covered with black and yellow electrical tape. Copper water pipe can be used instead of the aluminium tubing.

Colour chart [Advanced]

It is important to record the true colour of some finds such as pottery but lighting conditions will affect the overall colour of a photograph. To correct for this variation in colour a standard colour chart can be included in the finds picture.

3D Photo scale [Advanced]

Photographic scales are used to provide a known distance reference when taking photographs above or under water. For objects that are not flat it is often an advantage to include a 3D or cube scale in the photograph as it makes the photograph easier to interpret.

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Version date: 16 October 2016 The tools and equipment below are useful when undertaking search operations underwater: A shot line is dropped from a boat and used to mark the centre of the search area for a circular search.

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Tabla con fecha de entrega  de reportes 

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Tabla con fecha de entrega  de reportes 

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Reportaje los informantes de caracol TV sobre el naufragio san felipe

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Reportaje los informantes de caracol TV sobre el naufragio san felipe

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Tesoros del navío San Felipe, hundido hace 300 años en Cartagena - Los Informantes

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Taller definición de arqueología marítima.  

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Taller definición de arqueología marítima.  

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Realizar una definición grupal que integre algunas definiciones de autores como muckelroy y complementen con lo analizado en clase. La definición no debe exceder una hoja.

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Documental de National Geographic sobre el naufragio de Bocachica 

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Documental de National Geographic sobre el naufragio de Bocachica 

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EXCLUSIVE: Did This Shipwreck Change the Course of History?

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WATCH: A shipwreck recently discovered near Cartagena, Colombia, could be one of several Spanish ships intentionally sunk in 1741 to block a British invasion.

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Arqueolombia es un espacio para discutir, documentar y presentar experiencias de arqueología de Colombia

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Arqueolombia es un espacio para discutir, documentar y presentar experiencias de arqueología de Colombia

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Arqueolombia es un espacio para discutir, documentar y presentar experiencias de arqueología de Colombia
— arqueolombia (@arqueolombia1) April 9, 2020

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Arqueolombia es un espacio para discutir, documentar y presentar experiencias de arqueología de Colombia

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Arqueolombia es un espacio para discutir, documentar y presentar experiencias de arqueología de Colombia

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Arqueolombia es un espacio para discutir, documentar y presentar experiencias de arqueología de Colombia

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PODCAST 5 minutos de arqueología el concepto de Paisaje Cultural Marítimo

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PODCAST 5 minutos de arqueología el concepto de Paisaje Cultural Marítimo

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Breve definición sobre el concepto de paisaje cultural marítimo by Conceptos de arqueologia marítima

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Breve definición sobre el concepto de paisaje cultural marítimo by Conceptos de arqueologia marítima

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Aproximación conceptual desde múltiples autores que apuntan a una primer definición.

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Techniques > Surveying > Survey Methods > Sketching

Sketching is one of the most useful survey techniques. A good sketch often provides a large amount of information about a site in the early stages and it is better for explaining what has been found as a sketch is easier to interpret than a set of bare measurements. Once a survey has started we can use sketches to help record areas of the site or specific details about features.

Some form of sketch is essential before work can be planned on a new site as the size and shape of the site need to be known, as well as some idea of what can be found there. For assessing a site the initial sketches can be as detailed as you wish but should aim to give an overview rather than concentrating on one part in detail. It is important to establish the size and orientation of the site as a minimum, the position of any large features should be recorded as these can give a clue to the type and size of the ship or to help work out which end is the bow and which is the stern. The pattern of structure and features gives clues to how ship sank and can show if ship has been salvaged or disturbed by trawlers. Information about the seabed type and its general shape is also useful.

The sketch should show:

Important features on the site in relation to each other

Approximate dimensions of the site, length and width

The orientation of the site, which way is north

Note if the site is submerged, intertidal or above water

Water depth at points across the site, or heights if on the foreshore

Note if the site is intact, broken up or scattered, upright, on it side or upside-down

Notes on any features or objects on the site

Notes on potential for buried objects

Notes on seabed types

Potential hazards such as trawl nets

The 'metadata' that tells us about the sketch; who drew it, the name of the site, when it was drawn, the depth, visibility and current on the site at the time

Few tools are required to make a sketch underwater; a drawing slate, pencil and waterproof drawing film with a tape measure to use as a baseline or to add measurements. Gloves may be worn in cold water but these will make sketching much more difficult, if the water is not too cold then cutting off the tips of the glove fingers on your drawing hand makes sketching easier.

Some suggestions about drawing sketches:

Although a sketch can be drawn after a dive it is usually better to start sketching underwater as you are less likely to forget details

For larger sites or ones where visibility is poor a tape or distance line can be laid through the site and used as a guide

If the visibility is really bad then it may be easier to do a radial survey with a compass and tape measure

A checklist of information to record on the sketch can be written on the slate before the dive

If the sketch was drawn underwater on plastic film then it can be copied using a computer scanner or by taking a photograph. If the initial sketch of a new site is to scale then it can be scanned and used as the starting point for the main site plan.

Anyone Can Sketch Underwater

Few people believe that they are good at sketching but experience with hundreds of volunteers shows that anyone can draw a sketch. Often the potential sketcher thinks that what is required is more complicated and intricate than the sketches we need, in fact what we want is more like directions to a railway station rather than like a Rembrandt painting. A artistic skill can be a limitation as there may be a tendency to record what you think is there rather than what is really there.

To help explain what is required a number of examples of real site sketches have been included below. Do not be surprised if the sketches look a little rough with smudges, wobbly lines and poor handwriting. Sketches like that are what most often are produced when drawing underwater, especially if gloves are worn, there is a current, the site is deep or dark. Yes, there are a few people who can produce fabulous drawings to scale in a matter of moments, but few of us are like that. The example sketches below were produced by ordinary volunteer divers.

Two things have been found to help improve skill in sketching; the first is lots of practice and the second is some basic training in engineering drawing.

Examples

Below are a number of real examples of sketches. For many the information about who did it and when has been removed.

Please click on a sketch to show a larger version.

Equipment List

Drawing slate - An A4 or A5 size PVC slate, pencil and waterproof paper for making notes

Pencils - For drawing

Waterproof paper - For sketching on underwater or in the rain

Compass - A divers hand bearing compass

Flagging tape - Bright yellow flagging tape is used to mark objects that have been found

Related Pages

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Techniques > Surveying > Survey Methods > Sketching Sketching is one of the most useful survey techniques. A good sketch often provides a large amount of information about a site in the early stages and it is better for explaining what has been found as a sketch is easier to interpret than a set of bare measurements.

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Nautical Archaeology -  Beginnings (part 1)

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Favor en esta columna montar los pdfs de sus planos de barcos 

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Favor en esta columna montar los pdfs de sus planos de barcos 

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Planos Coca Española

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Planos Coca Española (Cristian Camilo Sanchez Navarro)

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Daniela Sofia Ancines

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Me toco asi porque lo hice hecho en Illustrator

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Cette épave du 16e siècle a été découverte par l'archéologue Fabien Langenegger de l' OPAN (Office du patrimoine et de l'archéologie du canton de Neuchâtel), fin 2017.

Elle a été intégralement fouillée, modélisée et réensablée entre le 1er et le 14 octobre 2019, grâce au soutien des équipes de la Fondation Octopus, de MZ Plongée et du CREASSM.

Les fouilles ont révélé un navire d'une quinzaine de mètres, entièrement en sapin, chevillé et sur lequel avait été construit une balise en pierre pour marquer l'entrée d'un canal. e navire avec sa base de pierre a été amené à l'endroit voulu, et coulé volontairement. Construit dans le courant du 16e siècle, ce navire a été transformé en balise dans la première moitié du 17e siècle.

© Fondation Octopus / OPAN - 2019

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Cette épave du 16e siècle a été découverte par l'archéologue Fabien Langenegger de l'OPAN (Office du patrimoine et de l'archéologie du canton de Neuchâtel), fin 2017. Elle a été intégralement fouillée, modélisée et réensablée entre le 1er et le 14 octobre 2019, grâce au soutien des équipes de la Fondation Octopus, de MZ Plongée et du CREASSM.

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The first of two field schools in 2011 was facilitated by the Norwegian Maritime Museum and took place on a wreck site in Langvika, a small bay near the island of Skjernøy in Southern Norway. The wreck was discovered by local sport divers in 2009 and reported to the maritime Museum. As it was partially exposed, recording prior to covering the site was suggested. During the field school, the Skjernøysund wreck was partially excavated and fully documented in situ. It turned out to be the remains of a large, clinker-built merchant vessel, which was constructed on the southern Baltic shore and lost on a voyage undertaken in 1394 with a cargo of timbers, lime and possibly cloth. The analysis of the ship's construction and the comparative analysis with other contemporary finds turned out to be particularly interesting, as it helped to shed some light on the ongoing discussions around historical ship types in the late Middle Ages.

Read more about it here: http://www.maritimearchaeology.dk/?page_id=1219

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The first of two field schools in 2011 was facilitated by the Norwegian Maritime Museum and took place on a wreck site in Langvika, a small bay near the island of Skjernøy in Southern Norway. The wreck was discovered by local sport divers in 2009 and reported to the maritime Museum.

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Timbers at the base of Firbush Crannog, Loch Tay. This crannog is usually fully submerged near the Firbush Outdoor Acitvity Centre on the south shore of Loch Tay. These timbers have been initially radiocarbon dated to sometime between 350-50 cal BC.

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Timbers at the base of Firbush Crannog, Loch Tay. This crannog is usually fully submerged near the Firbush Outdoor Acitvity Centre on the south shore of Loch Tay. These timbers have been initially radiocarbon dated to sometime between 350-50 cal BC.

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In 1992, after the sand overburden was removed with 4-inch venturi dredges to expose the upper surface of the St. Johns Shipwreck (believed to be the Spanish galleon Santa Clara of 1564), a layer of stone ballast containing encrusted, wrought-iron artillery (bombardetas & versos) was revealed. From this point, the site was then sub-divided into 1 sq. meter units for detailed excavation and documentation. The area shown in this model is roughly 6x4 meters.

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Artillery & Ballast - Santa Clara Shipwreck

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In 1992, after the sand overburden was removed with 4-inch venturi dredges to expose the upper surface of the St. Johns Shipwreck (believed to be the Spanish galleon Santa Clara of 1564), a layer of stone ballast containing encrusted, wrought-iron artillery (bombardetas & versos) was revealed.

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The Kawanishi H8K (Allied code name Emily) was a large, four-engine Japanese flying boat used in the Pacific as a reconnaisance aircraft, bomber, and transport. Its perfomance during the war was considered exceptional combining fast flying capabilities and superior hydrodynamic qualities. The H8K was first used in combat in 1942 and earned a reputation among Allied forces as one of the hardest Japanese aircraft to shoot down. It was considered the backbone of the Imperial Japanese Navy's maritime reconnaissance element. The H8K carried a crew of ten and was armed with nose, dorsal and tail machine gun turrets.

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The Kawanishi H8K (Allied code name Emily) was a large, four-engine Japanese flying boat used in the Pacific as a reconnaisance aircraft, bomber, and transport. Its perfomance during the war was considered exceptional combining fast flying capabilities and superior hydrodynamic qualities.

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El Ángel se ubica al sur de Banco Chinchorro, hundido entre 10 y 12 metros de profundidad.

Algunos de sus restos como herrajes y cadenotes, indican que el sistema de propulsión de la embarcación era a vela; sumado a que no se hallaron evidencias de que se tratara de un buque impulsado a vapor y mucho menos mediante un sistema de motor; además, la presencia de refuerzos de hierro hacia popa, proa y sobre el forro interno indican, junto a los tablones hallados en la sección de proa y hacia popa, que era un barco construido mayoritariamente en madera con componentes estructurales de hierro como refuerzos de la estructura. El estudio del recubrimiento metálico del casco, manufacturado en Muntz, así como la historia naval y comercial para esa época y región, apuntan a la posibilidad de que se trate de un velero inglés que transportaba un cargamento de palo de tinte.

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Proa del pecio "El Ángel", Banco Chinchorro

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El Ángel se ubica al sur de Banco Chinchorro, hundido entre 10 y 12 metros de profundidad.

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The Comet which sank in 1861 sits upright with two intact walking beam steam engines, boilers, and paddle wheels. Cabins and decks have collapsed but it is one of three of the Great Lakes best examples of a sidewheel steamer. The 2012 imagery for this model was not shot for a 3D model but covered the wreck fairly completely. Unfortunately some of the video was shot a little too far from the wreck to get good surface texture which causes a water column veil over the details.

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The Comet which sank in 1861 sits upright with two intact walking beam steam engines, boilers, and paddle wheels. Cabins and decks have collapsed but it is one of three of the Great Lakes best examples of a sidewheel steamer. The 2012 imagery for this model was not shot for a 3D model but covered the wreck fairly completely.

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This is a reconstructed underwater archaeological site, which depicts a part of a sinked greek merchant ship from the IIIrd century B.C., measuring 35m in length and probably heading for the ancient settling of Callatis.

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This is a reconstructed underwater archaeological site, which depicts a part of a sinked greek merchant ship from the IIIrd century B.C., measuring 35m in length and probably heading for the ancient settling of Callatis. - Archaeological site - 3D model by SenYul (@senyul) [4980de8]

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Anémone wreck, excavation by ASSOCIATION AAPA UNIVERSITÉ DES ANTILLES AIHP GEODE EA 927 Director Jean-Sébastien Guibert

Preliminary research carried out in July 2015 demonstrated the interest of the site of the Passe de la Baleine located in the Bay of Saintes, Terre-de-Haut, Guadeloupe, and the very likely identification of the remains of the wreck as those of the Anemone a schooner of the Royal Navy lost during the hurricane of September 7 to 8, 1824.

Underwater photogrammetry carried out as part of a collaboration between Septentrion Environnement and LIS (Laboratory of Computer Science and Systems) Aix-Marseille University, UMR CNRS 7020.

Contact : Olivier Bianchimani, Septentrion Environnement and Pierre Drap, LIS, CNRS.

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Anémone wreck, Guadeloupe, 2018 - Download Free 3D model by Septentrion (@Septentrion) [0ab56f1]

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Anémone wreck, excavation by ASSOCIATION AAPA UNIVERSITÉ DES ANTILLES AIHP GEODE EA 927 Director Jean-Sébastien Guibert Preliminary research carried out in July 2015 demonstrated the interest of the site of the Passe de la Baleine located in the Bay of Saintes, Terre-de-Haut, Guadeloupe, and the very likely identification of the remains of the wreck as those of the Anemone a schooner of the Royal Navy lost during the hurricane of September 7 to 8, 1824.

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Planos Goleta (Nicolas Cubillos)

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Láminas construcción naval Marques de la Victoria Siglo XVIII

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Láminas construcción naval Marques de la Victoria Siglo XVIII

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Documento de apoyo para construcción de barco

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Francisco Cárdenas

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Version date: 18 March 2017

Information on this page is courtesy of Kevin Camidge ( CISMAS), Ruth Brown and Kay Smith ( Basiliscoe).
Click on any image below to show a larger version.
Introduction

Shipwreck sites have often been found by divers coming across a cannon on the seabed and as cannons show up well on marine geophysical surveys these sites can be found that way too. Like anchors, cannons are strongly built and can survive underwater where smaller items may get eroded or washed away. So sometimes the most obvious things to survive on a shipwreck site are cannons and anchors. These large objects survive as markers to identify the location of a shipwreck site but they also contain information that provides clues about the wreck itself so recording them properly is important.

Note on names: Here we use the common terms 'cannon' to refer to artillery pieces that fire 'cannonballs', but more correctly we should be referring to 'guns' that fire 'round shot'.

Cannons made in different ages, in different countries and by different manufacturers include noticeable differences in style. From these variations we can tell something about the age or nationality of the cannon which can then provide hints about the age and origin of the shipwreck it came from. But cannon get moved from one ship to another, they get captured and put on foreign enemy ships andthey can be in use for a very long time so these clues may be just hints rather than hard evidence. The size of a cannon usually tells us something about the size of ship that carried it as you need a big ship to carry big cannons.

Cannons are made of two different metals, cast iron and bronze. Most cannons were made of cast iron and that is the kind most often found by divers. The material used to make the other type is variously known as bronze, brass or copper alloy, although the material used to make them is not a true bronze but is some alloy of copper. For simplicity, here we shall refer to them as bronze guns.

Guns made of iron will rust in air so when kept in service they needed to be oiled or painted. When dropped on the seabed from a ship during a wrecking the iron guns will start to corrode, but being in sea water they will corrode faster and in a different way than they would in air. As the gun corrodes the outside forms a thick, hard concretion which eventually slows the rate of decay allowing the cannon to survive long enough for divers to find it. The thick concretion that preserves the iron gun also hides the details of the gun itself so the outside starts to look organic rather then something man made. With a covering of weed or marine growth the gun will start to look like a rock, so much that sometimes they can be hard to find, see the examples below. Photographic scales have deliberately not been included in these example photographs to make the cannon look more rock-like and harder to see to show this effect.

The concretion can be removed to reveal the detail of the cannon but it is difficult to do and should not be attempted by the inexperienced. The cannon can be heavily and permanently damaged in the process if not done well. Worse still, the metal of the cannon inside its protective coccoon of concretion was corroding very slowly but once removed the metal will again start to corrode very quickly.

Bronze guns corrode at a much lower rate and they develop a thin green patina rather than a concretion, so a bronze cannon underwater often looks much like a bronze cannon does on land. Being not heavily concreted a bronze gun is much easier to record.

As well as chemical attack both iron and bronze cannon will be subject to physical erosion especially if they are in shallow water. Parts of the gun may be eroded away or details worn down so they are no longer visible, sometimes they become so eroded that they do not look like a cannon at all

Parts of a Cannon

The names used for parts of a cannon can vary so in the guidance below we will use the names shown in figure 4:
Fig 4: The parts of a cannon

The Muzzle is where the shot comes out and is considered to be the 'front' of the cannon, this is usually the narrower end of the barrel

The other end of the gun is called the Breech. The widest part of the Breech is the Base Ring and behind this is the Cascable (or Cascabel), with the Button right at the end.

The Touch Hole is on the top at the back, just in front of the Base Ring, and the Vent Field is the area around the Touch Hole between the Base Ring and the Vent Field Astragal

The Bore is the hole down the centre of the cannon from the muzzle towards the Breech.

When in use the cannon is mounted on its Trunnions, these act as a piviot so it can be angled up and down on its Carriage.

The Mouldings, Astragals and Reinforces are rings around the barrel, they are for decoration and the gun would work just as well without them.

For an iron gun covered in concretion it may be impossible to identify any detail features such as the mouldings, astragals and reinforces.

Tools

A cannon can be recorded using the simplest tools:

The simplest tool for recording cannon is a fibreglass builder's tape measure, this can be used for measuring lengths along the gun and it can also be used for measuring the circumference of the barrel and trunnions.

The next most useful item is a folding rule as often it is easier to make smaller measurements with a rule rather than a tape measure.

Having a pair of large callipers will allow you to measure the diameter of the cannon rather than the circumference so more accurate measurements can be made.

A profile gauge can be useful for copying the shape of mouldings and the shape of the cascable.

Recording Cannon

Most of the cannon you will see will be made of iron and those found underwater will usually be covered in concretion and may possibly be eroded. As the concretion hides the details two forms have been developed for recording guns, a simple form that captures the essential measurements of a concreted iron gun and a very detailed recordingform that can capture all of the information about an iron gun on land, a de-concreted iron gun in a museum or a bronze gun. The forms have been developed by Kevin Camidge at CISMAS and they have since been used on many shipwreck projects all ovet the world.

Along with the form it is usual to take a series of photographs of the gun as part of the recording process. Some details of the gun may show up in the photograph that were not visible when the gun was recorded.

The Simple Cast Cannon Recording Form

This form is for basic recording of cast iron and brass cannons, it is intended for use underwater and where concretion or wear makes recording of fine detail impossible. Waterproof forms can be made by printing the form on laser-printable drafting film in a laser printer. If your cannon is covered in concretion (a hard crust formed from corrosion products, especially on cast iron cannons) then measure over the concretion and do not try to remove it.

Measurements:

Record the measurements in the boxes indicated on the form, preferably in millimetres. If you use units other than millimetres make sure you record (in the tick boxes) which units you have used

The diameter measurements are best taken using a large pair of callipers. If you do not have callipers, then measure the circumference and precede the measurement with a large 'C'

The simple form requires just nine measurements and some observations to be filled in, the form clearly shows which measurements to make

Note that measurements should be made from the rear edge of the base ring, this is usually the widest part of the cannon

The bore or calibre can be hard to measure accurately if the cannon is heavily concreted so make a few measurements and record the largest diameter for the bore.

if possible, try to measure the bore a little way down the barrel as the bore may be worn and the size at the muzzle face may be slightly larger

Measurements should be made to the centre of the trunnions

Observations:

Site - The name of the site. On land, record the name of the location or nearest building; underwater, the name of the wreck (if known). If the gun is on an archaeological site, the site code should be used.

Gun number - On sites with more than one gun, the guns should be given numbers.

Recorded by - The name of the person (or persons) recording the gun.

Date of record - The date the gun was recorded

Units - Tick one of the boxes to indicate the units in which the measurements are recorded

Gun attitude - Mainly applicable to guns underwater. State whether the gun is 'right side up', 'upside down' or 'on its side'. On land the gun will often be on a carriage (usually a reproduction); state 'on carriage'.

Material - If black or rusty tick cast iron but if green or shiny then tick bronze. If unsure put '?' in the box you think most likely.

Carriage parts - For use where original carriage parts survive (usually underwater).

Trunnions - Tick for parallel or tapered trunnions as appropriate. If the trunnions are tapered, record the outer face diameter on the gun diagram and the inner (larger) diameter here.

Location - Give a position derived from a hand-held GPS if possible: latitude and longitude at sea or an OS grid reference if on land. If you do not have access to a GPS then estimate the position from a chart or OS map. Please state in the notes section how the position was obtained (GPS or estimated). If on land, give the street address of the gun in the notes section.

Alignment - Take a compass bearing along the gun (from the base ring to the muzzle). With iron guns you will need to stretch a string or tape along the gun to get the compass away from the gun.

Concretion - State 'None' if the gun is not concreted. Otherwise, give an estimate of the thickness of the concretion. If this is not possible, simple record 'concreted' followed by an estimate of the percentage of the gun covered by concretion.

Markings - Any visible markings or numbers should be noted along with where they are on the cannon. Make reference to photographs and sketches or rubbings made of the markings. Dont forget to check the face of the muzzle for markings too.

Notes - Any other features of note should be recorded here. You should also make a sketch of the gun, either on the back of the form or on a separate piece of paper. Take lots of photographs. Take one from the side of the whole gun as well as lots of detail/ close up pictures. On land, if the gun has an associated sign make a note of it here as well as photographing the sign.

Photographs for Recording

A standard set of photograph views have been defined which taken together should be a complete record of a cannon. On land it is usually possible to get all of the photographs especially if the cannon is raised up on a carriage. When photographing a cannon underwater you usually get what you can, the cannon may be partly buried or heavily concreted.

List of photographs to record a cannon:

1. General view showing the gun and its surroundings

2. Side view of the whole cannon, taken from the same level as the barrel, both left side and right side (Fig. 7)

3. Muzzle face - looking straight down the bore

4. Detail of the side of the muzzle, at right angles to the end of the barrel (Fig. 8)

5. Breech of the gun looking straight at the cascable, looking down at an angle of 45 degrees (Fig 9)

6. Breech of the gun looking straight at the cascable, from the top (Fig. 10)

7. A close up side view of the breech mouldings

8. A close up of the touch hole and vent field, looking straight down

9. A close up of the base ring

10. Detail of the end of the trunnions, on both sides (Fig. 11)

11. Detail of each astragal and reinforce (moulding) along the barrel (Fig. 12)

12. Details of all markings and crests (Fig. 13)

13. Three-quarter view if the gun from the front, the muzzle end (Fig. 14)

14. Three quarter view from the back, the breech end (Fig. 15)

15. Any other photographs that may be useful

Other Types of Gun

Fig 16: Drawing of the Scilly garrison gun shown in the photographs
Wrought Iron Guns - Some older types of iron cannon were made from pieces of wrought iron, often put together in a similar way to a wooden barrel but using hoops and staves of iron rather than wood. The basic dimensions of this type of cannon can be recorded in a similar way to a cast iron cannon but detailed recording should be done by an expert as information about how the cannon was made is very important.

Mortars - Measure the bore or calibre and the overall length

Howitzers - Measaure the same as an ordinary gun

Carronades - It is important to measure the bore inside the barrel as the bore at the muzzle face is wider.

Detailed Recording Form (Advanced)

Another form can be used for recording a cast gun in detail where there is no concretion covering the details. The notes explain how the form should be used:

Other Methods - 3D Photogrammetry

In recent years 3D photogrammetry has become very popular and it has been used to successfully record cannons. The method is appropriate when the actual cannon itself is being photographed as the 3D model is then of the cannon but it is not appropriate for recording concreted iron guns.

Fig 16: 3D computer model of the Morrab Garden gun (CISMAS)
Firstly, the 3D model is of the concretion and not the gun so the shape and texture of the surface is largely meaningless. Each 3D model contains a huge amount of data that has to be archived and stored while only 20 or so numbers are required to record a concreted iron cannon. Many 3D photogrammetry models of cannons do not include a scale or survey ground control so the dimensions of the cannon cannot be determined. Models without a scale may have some use for public outreach but they are not useful as a scientific record of the cannon itself.

Recommendations

Use the cannon recording forms to help ensure you record all of the information about a cannon

Include all the views listed above when taking photographs

Equipment List and Forms

Links and Documents

Encyclopedia of Markings and Decoration on Artillery, Mendel Peterson & Robert Stenuit (Ed.)

British Cannon Design 1600 - 1800, by Dr A R Collins

British Smooth Bore Artillery: A Technological Study, David McConnell, 1988

The Development and Design of Bronze Ordnance - Sixteenth through Nineteenth Centuries, Chuck Meide, 2002

16th Century Cast-Bronze Ordnance at the Museu de Angra do Heroismo, Sara Hoskins, 2003

The Carronade, C Spencer Tucker, Nautical Research Journal 1997

3D Photogrammetry gun recording tests, in HMS Colossus Sediment Level Monitoring 2014

The Ordnance Society - Ordnance and Artillery of All Periods

Related Pages

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Version date: 18 March 2017 Information on this page is courtesy of Kevin Camidge ( CISMAS), Ruth Brown and Kay Smith ( Basiliscoe). Click on any image below to show a larger version. Shipwreck sites have often been found by divers coming across a cannon on the seabed and as cannons show up well on marine geophysical surveys these sites can be found that way too.

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